On the 52nd minute of Michelangelo Antonioni’s “The Passenger” (1975), the protagonist David Locke, under David Robertson’s skin, opens a small notebook diary. In the page, a hand written schedule predicts a meeting at Osuna’s Hotel de la Gloria, next September 11th, at 5 p.m. After this close shot, the narrative drives towards the small Andalusian town, located 89 km east of Seville, concluding in the film’s legendary penultimate shot.

Antonioni decided to shot the ultimate Osuna sequence in Vera (a town located in Almeria, 363 km east of Osuna). Due to this dislocation, the Andalusian town turns into an imaginary place: in the fictional layer, Osuna is represented in Vera; and in the materialization of that fiction, Vera is conceived and meant to be Osuna. Though the sequence is shot in Vera, the author maintains the Andalusian reference: the scene happens in Osuna. What if Antonioni had filmed this sequence there? And what sort of images the same camera movements would have generated in other place?

5 p.m., Hotel de la Gloria is a work by Eduardo Brito and Rui Hermenegildo, set in Osuna,created after the antonionian shot. Through the photographic image, this shot is represented in its imaginary location and illusory movement in Osuna. Thus its location, as a photographic work comprising a fiction over a fiction. 5 p.m., Hotel de la Gloria is a drift through an impossible materialization (or imagination) of a place, of a scheduled meeting, set in cinema’s great illusion.